Blandings

We should not, I think, judge Blandings by the standards of realistic contemporary comedy. I agree that characters do not seem realistic in some respects and that the acting and effects in Season 1 are more artificially (Freddy's forelock rising and falling at the sight of a pretty female, for example), but both seasons have grown on me--I like them both. Both butlers Beach are wonderful, each in his own way. But both seasons are based on Wodehouse's brilliantly comedic language and absurd plots and unforgettably archetypal characters--plagues in the form of aunts/sisters, guardian-crossed lovers, butlers with more sense than their employers, frivolous young men who live for nightlife and fall in love with a succession of pretty young women, and leading male characters of the upper class who have a hobby-horse (in this case, the Empress) and are one cartload shy of a full load of fertilizer. I only wish there were 10 seasons of this delightful fluff.

Perhaps because I'm American, I can't help but think how ungrateful the UK reviewers are here. You want to watch dreadful comedy? Watch any US network on any night on our side of the lake. I love PG Wodehouse...he is criminally unread here in the States. And, having loved Jeeves and Wooster and all it's charm (Laurie and Fry)...I'm thrilled for this adaptation. I think the actors (and casting) are great. The writing is sharp. It is a little disheveled aesthetically, but I think it works here.

I'm looking forward to the rest of this and frankly if viewers in the UK don't want it...please send it (and company) over to us and take back Downton Drabby.

Saunders is always a fave but her lines omg. Her threats and superficial social climbing and Farthing and Spall are spot in. Poor put upon Butler Beach is such a great foil. Wow I laughed out loud a lot. Enjoy. Downtown Abbey gone off the rails.

When the brilliant and inspired Stephen Fry and Hugh Laurie did PG Wodehouse's "Jeeves & Wooster" in the 1990's it was a pure joy. Because they didn't appear to be acting. They seemed to somehow miraculously become those two characters. You couldn't see the strings.

The complete opposite is true of the BBC's new six-part adaptation of PG Wodehouse's Blandings Castle stories. As Lord Emsworth, Timothy Spall does little but put on a posh voice and dig in, like a knackered old repertory company actor playing Toad of Toad Hall for the umpteenth time, in yet another tatty production of Wind in the Willows.

As Emsworth's sister Connie, Jennifer Saunders looks equally bored and uninterested, as if she's hurriedly learned the lines for a quickie PG Wodehouse sketch in an episode of French & Saunders.

Worst of all is Jack Farthing as the idiot son Freddie. His upper class accent is about as convincing as a first year American drama student auditioning to play all the Hugh Laurie parts in a bad remake of Blackadder.

Farthing's on-screen strategy appears to be to pull as many stupid grimaces as possible, bump into the furniture, fall over, and hope for the best.

The only member of the company who isn't dismally miscast is Mark Williams, who's Beach the Butler is neatly underplayed, nicely observed, and completely believable – standing head and shoulders above the surrounding gaggle of tiresome, stereotyped, phone-it-in actors.

The pig is good. Very good. His flat, upturned nose can't help but put me in mind of Kevin Bacon (No pun intended. A genuine, physical similarity that is undoubtedly worth pointing out.) Blandings' early evening, weekend time slot makes me wonder just exactly who the target audience are intended to be. The poor slapstick and semi-Pantomine style appear to be aimed at a younger audience. Chuckle Brothers meets Downton Abbey? Yet that age group's unfamiliarity with the Wodehouse genre would surely only lead to utter confusion and bewilderment. I know Wodehouse pretty well and it left me cold.

The only thing that made me laugh during the whole of the first two episodes was the thought of a couple of streetwise urban teenagers accidentally switching on to Blandings and fruitlessly trying to work out who these people were, and what the hell they were all on about. I will not be returning a third time to this particular crumbling pile.

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I don't care about comparing or contrasting this series with literary masterpieces. I care about how enjoyable it is to watch character actors do their thing. And these actors do not disappoint. Their presentations are so well done and so well matched it gives me great pleasure to watch nostalgically the antics of the British upper crust makes a consistent dash toward lunacy in logic as they refuse to face reality during the great Victorian Age which in truth mimics some of the sexual innuendo to be found here. I hope the series gets the chance to find its feet. This show is an intellectual delight, especially if one enjoys the poetics of words, the sounds they make, and the sub-textual meanings behind them in a given context. The writers must have enjoyed themselves immensely while struggling to put the strings of expressions together to help develop the characters and their relationships to one another. "Lmao", in a dignified manner, of course.